Raag Short Studies
Page 2
Welcome to this part of the Academy where we will take a more brief look at a bigger variety of Raags.
Each month we will add more to keep expanding our knowledge over time.
This page covers Raag Bhatiyar and Raag Maduvanti.
Each month we will add more to keep expanding our knowledge over time.
This page covers Raag Bhatiyar and Raag Maduvanti.
RAAG Bhatiyar
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Welcome to Raag Bhatiyar, a beautiful and very complex morning raag played between 3-6am, rarely heard apart from all night music/religious festivals in India.
It has a very rich and unusually melodic structure and cannot be captured very well in setting a plain ascending/descending order. It has to be developed phrase by phrase and is more often played slowly and in a thoughtful manner. Nevertheless we will establish a basic structure and move forward from there. |
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Here are the notes but irrespective of ascending/descending, just shown in Scale order:
Sa re Ga Ma Ma' Pa Dha Ni
Intervals are 1, b2, 3, 4, #4, 5, 6, 7,
Now here is an Ascending/Descending order to give some guidelines.
Sa Ma Pa Ga, Ga Ma' Dha Sa
re Ni Dha Ma Dha Pa Ga, Pa Ga re Sa
The introduction lesson gives many examples of variations and typical movements are go by quite quickly. The Sargam is shown highlighted on the screen so I would suggest pausing the videos at times to take it in. On the other hand just letting the phrases and note combinations wash over you will start to familerise you with the Raag. Most if not all the phrases I'm playing are just moments that stayed with me from listening to Amir Khan sing this raag and particularity the moments when he would sing in Sargam making the intervals so clear and resonant.
Here are the recordings I mentioned in the video:
Raga Bhatiyar | Shruti Sadolikar https://youtu.be/D0u78bsJ9d4
Taken from the 'Raga Guide' book and recording catalog, we will play this composition in the next video.
Ustad Amir Khan - Raga Bhatiyar- baranee na jaaye mose- ektal- vilambit https://youtu.be/aI2Doo6716E
This one is so dear to me.
Sa re Ga Ma Ma' Pa Dha Ni
Intervals are 1, b2, 3, 4, #4, 5, 6, 7,
Now here is an Ascending/Descending order to give some guidelines.
Sa Ma Pa Ga, Ga Ma' Dha Sa
re Ni Dha Ma Dha Pa Ga, Pa Ga re Sa
The introduction lesson gives many examples of variations and typical movements are go by quite quickly. The Sargam is shown highlighted on the screen so I would suggest pausing the videos at times to take it in. On the other hand just letting the phrases and note combinations wash over you will start to familerise you with the Raag. Most if not all the phrases I'm playing are just moments that stayed with me from listening to Amir Khan sing this raag and particularity the moments when he would sing in Sargam making the intervals so clear and resonant.
Here are the recordings I mentioned in the video:
Raga Bhatiyar | Shruti Sadolikar https://youtu.be/D0u78bsJ9d4
Taken from the 'Raga Guide' book and recording catalog, we will play this composition in the next video.
Ustad Amir Khan - Raga Bhatiyar- baranee na jaaye mose- ektal- vilambit https://youtu.be/aI2Doo6716E
This one is so dear to me.
Teental gat demo and lesson
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RAAG Maduvanti
Welcome to Raag Maduvanti, an atmospheric late afternoon raag played between 4-7pm.
It is based on a scale rarely heard outside India which can be called the 'Lydian Minor Scale' (4th mode of the Harmonic Major scale). Noticed the minor 3rd and the #4 making the scale quite unique. The 2nd and 6th are skipped over in the ascent making a pentatonic progression on the way up. All notes are used in descending making a full 7 note progression on the way down.
The Ascending and Descending structure is as follows:
Ni, Sa, ga, Ma', Pa, Ni, Sa,
Sa, Ni, Dha, Pa, Ma', ga Re, Sa,
Using intervals it looks like this:
7, 1, b3, #4, 5, 7, 1,
1, 7, 6, 5, 4#, b3, 2, 1,
It is based on a scale rarely heard outside India which can be called the 'Lydian Minor Scale' (4th mode of the Harmonic Major scale). Noticed the minor 3rd and the #4 making the scale quite unique. The 2nd and 6th are skipped over in the ascent making a pentatonic progression on the way up. All notes are used in descending making a full 7 note progression on the way down.
The Ascending and Descending structure is as follows:
Ni, Sa, ga, Ma', Pa, Ni, Sa,
Sa, Ni, Dha, Pa, Ma', ga Re, Sa,
Using intervals it looks like this:
7, 1, b3, #4, 5, 7, 1,
1, 7, 6, 5, 4#, b3, 2, 1,
Ektal GAT lesson |
EKTAL GAT demo |